Their expertise are recognised by the most capable, and now Hungry Eye has recognised The OMC in there recent postings of our films on Hungry Eye TV.

The afternoon was set down to pick up shots in the taxi with views from inside and outside from the chase car. We were 10 minutes into shooting when a police van on the other side of the road flashed its lights. It didn’t help our cover that Bruce was hanging his camera rig over the front windscreen and sitting on the head rest.

We were all told to get out of the car, while I was questioned by the police. I was told my New Zealand license was invalid and I was facing a possible court date. The car was taken and we were left stranded.

Tensions were high – or at least my blood pressure was. But thanks to the work of Lucy and Deane the shoot was saved. Producing some beautiful shots of London City and creating a slick final product, disguising the drama that went into filming it.

Angus Bennett, Producer

Obi met Victoria Moore in Los Angeles when he was filming at the Playboy mansion. Victoria was snatched from obscurity while on Holiday for her 21st Birthday in Las Vegas. She was approached by agents and asked to enter a Playboy competition – going on to win and feature in the world renowned Playboy calendar in 2010.

Victoria was interested in doing a video to co-inside with her own calendar and Von-D was looking for a music video with attitude. Together with Obi and the OMC, the Love Music video was born. The video was shot near the top floor of an apartment block in Canary Wharf. Although the views from up there are to die for it is Victoria who stole this show.

Director Lucy Tcherniak, Deane, focus puller Ben and myself, all crammed into the small open-top car with our gear. To say it was a tight squeeze would be an understatement.

Unfortunately, driving around London’s busy streets with a camera, and camera man, hanging out the side of the car drew some unwanted attention from the Metropolitan Police service. We were pulled over in Shoreditch by an officer, and we were lucky to get off with a warning.

Our actor Rupet Savage had to do a huge amount of cycling. We must have driven around Golden Square in Soho 20 times – people thought we were crazy. In one of these shots you can see we also used a Lens Baby to create a dream like effect.

A big thank you to Deane Thrussel of Love Productions, who generously shot the commercials with his own Red Epic camera and anamorphic prime lens.

The next shoot would not go so smoothly – especially for me…

Angus Bennett, Producer

The scene was set, we were shooting inside a former shoe factory in East London’s Hackney Wick. The location was dark, atmospheric and perfect for lighting. Olympus donated three of their i-SPEED units as well as a 3D i-SPEED rig. This allowed the crew to work much faster but also made for a large and complicated production.

The idea for the film was the combined brain child of Obi Mgbado and Paul Bryan, with creative development and direction from Lucy Tcherniak. The directors were keen to call ‘action’ just as the whole production came to a grinding halt. All power was suddenly lost to the building, cutting the lights not just to our building, but the factory next door as well.

Once we managed to get the power back, everything began to come together. Our final edit included extraordinary ball-catching-flips performed by Matt Smith and Connor Stringer (without the use of a spring-board). Choreographer Stuart Goodwin devised new tricks for them to perform, bringing his experience in dance to the street art to Parkour.

The “suicide attack” shown at the end of the film is a real dodgeball tactic. It’s used when you need to gain the best chance of hitting your appoint but results in you being automatically out of the game. In the final sequence, both players preform the jump at the same time; charging at each other and leaping over the central line; hurling a ball at each other. The results of which….

Using Olympus’ prototype PL mount camera, which is compatible with Arri Lens. This allows film grade lens to be attached, giving extraordinary quality and detail. The production was set at Noise Control Audio HQ in London, their intimidating wall of speakers were used to deviating effect.

The flickering light you see in the first shots of actor Andrew Hawley, are the result of the high speed camera capturing frames so quickly it picks up on the fluctuation of the lights.

Now, we’re giving away a trade secret, but understand you might be wondering how we got the power socket to smoke. Paul and art director, Ed Hicks, used a stick of incense to create the smoke effect – don’t try this while the power is on!

To achieve the final shot, where Andrew is knocked off his seat by the weight of bass, the directors used both an industrial sized fan and a high powered leaf blower. Andrew not only had to fall off his seat on every take but have a leaf blower stuck in his face – the things we do in the name of art!

Clients include Adidas, Uefa, Jelly Belly, Outlook Festival and Olympus for whom we are helping develop the new and as yet unreleased i-SPEED camera.

Designed by Andy Barnes. Built by tinymighty.